Cryptosis – Celestial Death Review

By Iceberg

When it comes to evolving past its lean, mean beginnings, thrash has had a rough go of it. Modern iterations shoot for a return-to-roots approach, which feels doomed to fall short in the shadow of the genre’s titans or augment the style with increasingly odd bedfellows (I’m looking at you Demoniac). Dutch trio Cryptosis fell firmly in the latter camp with their 2021 debut, Bionic Swarm, and they’ve continued to march away from their Teutonic roots with follow-up Celestial Death. Bionic Swarm passed 4.0ldeneye’s questionably positioned bar for admittance to “Great” status, and being the scholar and gentleman that he is, he was gracious enough to allow little ol’ me to sink my teeth into Cryptosis’ sophomore effort. Sporting a spiffy new Kantor cover and promising a more “cinematic path” and “darker atmosphere,” I’m hoping Celestial Death will give me another reason to believe that thrash is still alive and well.

Thrash was a basis for Bionic Swarm, but here it’s used more as a color on Cryptosis’ palette. The boundary-pushing sounds of Vektor are still present here, but they’re joined by Gothenburg melodeath (“Ascending”) and expansive post-metal instrumentals (“The Silent Call,” “Coda-Wander Into The Light”). Even as they widen their stylistic pool, Cryptosis retain a high level of musicianship and execution. Marco Prij’s drumming is still blisteringly fast, and added creativity in the cymbal-work (“Static Horizon,” “Ascending”) and decidedly non-thrash blasting (“The Silent Call,” “Cryptosphere”) makes it a great listen for the rhythmically inclined. Frank te Riet’s synths are much more present this go-around, and paired with his mellotron work, they achieve a void-wrapped atmosphere worthy of the album’s title. Frontman Laurens Houvert reminds us this album is still rooted in furious thrash, though, and his gruff barks paired with maniacally dancing riffs make Celestial Death an entertaining and, at times, challenging record.

Thrash is known for burning hot and dying fast, but that’s not the case with Celestial Death. Although only 42 minutes, a perfectly adequate runtime, there’s lots of heady material packed into these 11 tracks. Bookended and bisected by instrumentals, there’s an erudite symmetry to Celestial Death’s structure. The front half features 4 experimental non-thrash compositions, while the back half’s 4 are more concerned with kicking ass and taking names. Though I applaud Cryptosis for their willingness to color outside the lines, not everything sticks its landing. Sweeping, half-time sections showcase te Riet’s droning synths but lose precious potential energy (“The Silent Call,” “Motionless Balance”). Tracks in this half are well performed, but the songwriting feels less focused, holding onto riffs and instrumental sections a bit too long (“Static Horizon”). With the exception of proper opener “Faceless Matter” which is a successful composite of Cryptosis’ past and future, the album’s front thoughtfully meanders when it should be gripping throats.

A trio of songs in the album’s B-side reminds us of why Cryptosis deserves to be in the conversation for compelling, modern thrash. Out of the transitory warblings of “Motionless Balance” comes an absolute ripper of a track in “Reign Of Infinite.” Houvert’s opening riff sets fire to his fretboard, and the double-kick battering is a welcome backing for the most headbangable moment on the album. The instrumental in the album’s bridge, including a beautiful rising lead melody in the guitars, gives just enough time away from the sturm und drang to clear the air before plunging earthward again. “In Between Realities” pairs the album’s sole sing-along chorus with choppy rhythms and extended tremolos, and closer “Cryptosphere” makes the case for Symphony X-style thrash. My attention snapped back into place in this section of Celestial Death, ending the album on a high note and earning the place of zoom-out closer “Coda-Wander Into The Light.”

Celestial Death doesn’t give up its astral secrets easily and will rebuff the casual listener. What at first feels like a wall of riffs and washy synths eventually finds definition and reveals a burgeoning voice in extreme metal. Even the instrumentals, which are so often shoehorned into “progressive” pieces, earn their keep after repeated listens. While I don’t share the enthusiasm gene of our dear Holden, I think Cryptosis have a solid addition to their discography here and are on the verge of synthesizing their own take on modern thrash. At times viciously thrash, twistingly prog, or tantalizingly atmospheric, Celestial Death has a little something for everybody and has successfully avoided, at least in this writer’s opinion, the modern thrash trap.

Rating: 3.0/5.0
DR: STREAM | Format Reviewed: STREAM
Label: Century Media
Websites: Bandcamp | Facebook
Releases Worldwide: March 7th, 2025

#2025 #30 #CelestialDeath #CenturyMedia #Cryptosis #DeathMetal #Demoniac #DutchMetal #Mar25 #ProgressiveMetal #Review #Reviews #SpaceMetal #SymphonyX #ThrashMetal #Vektor

Arion – The Light that Burns the Sky Review

By El Cuervo

One of the multitude of European power metal bands flying relatively low to the ground, Finland’s Arion (pronounced like Orion or carrion?) have seen coverage just once previously at AngryMetalGuy.com. The late, great Huck n’ Roll1 opined that their third record was competent but generic, seeking hits rather than their own sound. 2025 has arrived, and with it comes a successor release entitled The Light that Burns the Sky. Pitched as a “highly anticipated symphonic masterpiece,” and with a growing well of experience underpinning the band, I set appropriate expectations as I hit play.

Arion’s strongest quality is a legitimate chunkiness they boast in the face of Europower competitors that I usually find saccharine. Their compositions are appropriately maximalist, with reasonably dense layers of metal instrumentation fused with strings and faux choirs. But the songwriting and production generally elevate the impact of the guitars and drums in the mix above the symphonic elements; in particular, the guitars and drums benefit from a robust, battering tone while subjugating the keyboard elements. Likewise, the vocalist is sufficiently acrobatic to hit the necessary notes but prioritizes a gritty, shouting personality above a wailing vibrato. Finally, The Light that Burns moves at a quick pace, which, when paired with the compositions, coalesces into a sound that’s pretty heavy for power metal. The title track is an early highlight and exemplifies the qualities described above. Its speed and heft sounds something like Symphony X, with an appreciable brevity resulting in a song that passes instantaneously.

However, I find that The Light that Burns struggles to keep itself fresh. Despite its beefier-than-most style, the album becomes more repetitive and generic by side B. It contains ten proper songs (not including the short opener), and they all sound fairly similar. I find that my initial enthusiasm only persists for the first few songs; beyond this, the spark is extinguished. For example, “Blasphemous Paradise” is a pale imitation of the title track as it features stylistically similar but less enjoyable melodies. I query the purpose of songs that are simply lesser renditions of others. And the further into the album ventured, the more I struggled to maintain my focus; I was hard pressed to write any notes at all about the penultimate track called “In the Heart of the Sea.” I’ll happily listen to some bands doing the same thing ten times over, but only where they produce great music. By contrast, Arion merely produce serviceable music.

Where Arion attempt to generate the quality through variety I find myself craving, they still don’t quite achieve this. “Wings of Twilight” uses a female vocalist in its chorus who offers an ear-catching change of tone, but she’s ultimately less effective because her style is more generic than the main vocalist. This song also leans more heavily into synths. These two factors contribute to the song diluting the band’s personality and heaviness. Likewise, the closer runs for longer in an effort to reach something more epic. But what this practically entails is nearly two minutes of a repetitive introduction, extending what should be a sub-five-minute song to one that approaches seven minutes. By contrast, and despite my general enjoyment of the heavier songs here, a mid-album ballad might have worked better to refresh the sound of The Light that Burns for its second half.

There are substantial strengths in the core sound of The Light that Burns, and there are a couple of strong songs, but Arion are just not compelling enough to warrant anything more than a neutral award. While I admire the trend towards heavier material, the songs are insufficiently distinct to carry a 45-minute album. And though this release may not be quite as generic as the last, my overall summary can still go no further than “competent”.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kbps MP3
Label: Reigning Phoenix Music
Websites: arion.com | facebook.com/arion
Releases Worldwide: February 28th, 2025

#25 #2025 #Arion #Feb25 #FinnishMetal #Review #Reviews #SymphonicPowerMetal #SymphonyX #TheLightThatBurnsTheSky

Queen of Dreams – Subnivium Review

By Twelve

Here’s a fun fact for you: a subnivium is an ecosystem that thrives in the space between snow and ground. It’s a surprisingly dense topic, and my initial goal of summarizing it here was fully thwarted by just a few minutes of research. Suffice it to say, it’s surprisingly complex, and unexpectedly interesting, which makes it a great metaphor for this album of the same name, the second full-length release from the U.S.’s Queen of Dreams. Subnivium purports to be a work of progressive power metal inspired by European acts in similar genres—but like the system it’s named for, it is full of welcome surprises.

It might be slightly more accurate to describe Subnivium as being a power metal album with progressive and European influences. “Radiant,” the album opener gives this impression the moment you hit play—the album kicks off with energy and aplomb, keys and guitars (Ally and Caleb Scott respectively, with Tom Brown contributing even more guitars) competing for your heart as fast as they can go1. It reminds a bit of Stratovarius, and a touch of Symphony X, and the modern sound and progressive approach are refreshing. Even when Queen of Dreams slow down, as on “Call to Shadow” and “The Shape of Our Lives,” they keep up the energy, with drummer Dan Love and bassist Sky Talbott-Settle playing superb supporting roles. At any given moment, Subnivium is energetic, heavy, and a lot of fun to listen to.

I do feel bad dedicating so much of this next paragraph to one band member, but Lnz Praznak’s singing is a powerhouse that aligns exceptionally well with the songwriting. The chorus in “When Iron Chariots Prevail” is made by her delivery, with infectiously catchy vocal lines. She has a similar effect in the breakneck “Untethered,” the heaviest song on the album, where she duets with Caleb Scott’s raspy screams to elevate an already great power metal tune. The power in her delivery, alongside the way Scott’s snarls are pushed back in the mix, makes Unleash the Archers the best comparison I can give for what Queen of Dreams is doing here2, except that they also have a keyboard and use it to fantastic effect.

There are notes of experimentation throughout Subnivium that help to keep proceedings fresh, though a few moments work better than others. “Shield Anvil” opens with an AOR-style riff and keys duo that sets it apart without needing to stray too much from the core sound. The epic touches that adorn “Beneath the Ice and Snow” make it an effective slow burn and album highlight. The only one I’m not sure works is the closer, “End of the Road.” Written as a duo based on Tolkien’s Túrin and Glaurung, it features rough cleans from Caleb Scott in a “beauty and the beast” style duet over eight minutes (three longer than the next-longest on the 45-minute album). The sudden shift in style alongside the length disrupts the album’s flow somewhat, especially since Scott’s vocals have, to this point, been focused on rasps that have been much quieter in the mix. With that said, the end of the song is a gorgeous way to close out Subnivium, as Scott and Praznak herald beautiful keys and lead guitar at a genuinely touching climax.

Like the seasonal microhabitat itself, Subnivium is an unexpected delight of an album. It is energetic, confident, fun, and very well-written. Queen of Dreams take a familiar sound and apply an exciting and effective formula, the kind of ideas that refresh and revitalize a genre that is so prone to the same old thing. I really can’t wait to see what they do next, and I suspect I’ll be happily listening to Subnivium until that time comes.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Self-release
Websites: queenofdreams.bandcamp.com | facebook.com/QueenofDreamsBand
Releases Worldwide: January 31st, 2025

#2025 #35 #AmericanMetal #BrotherFiretribe #Jan25 #PowerMetal #ProgressiveMetal #QueenOfDreams #Review #Reviews #SelfRelease #Stratovarius #Subnivium #SymphonyX #UnleashTheArchers

Athena XIX – Everflow Part 1: Frames of Humanity Review

By Dolphin Whisperer

Before Fabio Lione rose to prominence with [(Luca) Turilli(/Lione)’s] Rhapsody [of Fire] and Angra, Athena—stylized now as Athena XIX1—served as another potential vehicle into the growing European prog/power landscape. Wielding an of-the-time histrionic Dream Theater guitar-driven drama alongside the lightness of chorus-driven power metal, the low-fanfare Italian outfit never quite topped any charts despite respectable musicianship and Lione’s formative pipes on 1998’s A New Religion?. And after another swing at success, sans the Rhapsody-snatched Lione, with 2001’s equally unreceived Twilight of Days, Athena hung up its spurs to ride another day. And now, twenty-six years after Lione had debuted his only full-length recording with Athena, that same line-up has returned, rested and determined to show age like a fine Parmigiano-Reggiano.

Athena XIX, at core, emerges with Everflow Part 1: Frames of Humanity as a revived relic of the late ’90s and early ’00s prog/power realm. Finding riffs that move with the low-end groove of classic Symphony X and an overblown narrative that flies due to the talent of a powerhouse vocalist—think Jørn Lande with Beyond Twilight or Vasilis Georgiou from Sunburst—Athena XIX hasn’t made many attempts to live in the synth-forward lands of modern takes on the style. That’s not to say that classic line-up keyboardist Gabriele Guidi strays entirely away from the dancing electronic works of a band like Voyager, with a pulsing wub and panning synth flutter adorning key intros to keep the total of Frames diverse (“Legacy of the World,” “The Calm Before the Storm”). But Athena XIX always manages to find a way back to a driving stringed refrain, whether it be in the virtuosic thick-stringed pop of Alessio Sabella (“The Day We Obscured the Sun,” “The Conscience of Everything” among others) or the down-tuned axe clamor of Simone Pellegrini.

Despite the instrumental prowess at play throughout Frames, its true power rests in the piped-prowess that Lione imbues into every verse and chorus. Neither as operatic as his time with any of the Rhapsodys (especially Turilli / Lione Rhapsody) nor as aggressive as in his continued charge with Angra, Lione uses Athena XIX to play around with different, more subtle techniques. Though morose and haunting vocal harmonies are standard in the darker tones of prog/power, Lione’s wide range serves him well in creating a unique eeriness between his capable heady highs, smooth mid-range croons, ghastly counterpoint lows, and reckless nasal lashings (“Legacy…,” “The Conscience…,” “Where Innocence Disappears”). Given the number of layers that live within each phrase for these captivating runs, it’d be easy for Lione to get lost in the art of tracking. But as Frames progresses Lione reveals consistently that he still possesses the pure diaphragmatic might to sear gigantic choruses and gritty wails deep into ears that crave his dramatic expression with late player “Synchrolife” seeing every cranny of his voice play out against a wild-and-whipping sonic clash.

Though just about everything that Athena XIX has put to tape produces a gentle bob of a closed-eye groove or delightful and resonant harmony, Frames doesn’t build a strong scaffold for its cinematic scope. A few moments from a tonal perspective do feel like they belong side-by-side—the riff reprisal of “The Day…” into “The Seed,” the piano refrain morphing to modulated synth backing from “Where Innocence Disappears to “Idle Mind.” But these kinds of related happenings often occur regardless of whether an album’s connected ideas build a greater thematic whole. And with a continued reliance on huge choruses to propel interest, Frames’ fifty-plus minute stretch enters the realm of crescendo fatigue without a tightly woven plot to catch it. By the time we arrive at the dramatic closing segue that presumably builds for part two’s introduction, I have a hard time believing more is necessary.

Twenty-three years in the making, Everflow Part 1: Frames of Humanity does more right than wrong for a band who never got much of a chance to prove themselves to the greater metalverse. Athena XIX may find comfort in a sound long removed from the popular paradigm, but its members, many of whom also have assisted in the engineering and recording of this comeback album, have kept an ear to enough production trends and tonal constructions to give Frames a full and engaging platform to display their talents. And, perchance, its implied sequel will deliver to us a package further refined to turn gentle smiles into screaming fans.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Reigning Phoenix Music
Website: facebook.com/Athena.Band.Italy
Releases Worldwide: December 6th, 2024

#LucaTurilliSLioneRhapsodyOfFire_ #2024 #30 #Angra #AthenaXIX #BeyondTwilight #Dec24 #DreamTheater #ItalianMetal #PowerMetal #ProgPower #ProgressiveMetal #ReigningPhoenixMusic #Review #Reviews #Rhapsody #RhapsodyOfFire #Sunburst #SymphonyX #TurilliLioneRhapsody

Paralydium – Universe Calls Review

By Iceberg

Prog was my metal gateway drug, and I’ll always have a soft spot in my heart for its bonkers, over-the-top ways. It’s pretty hard to find this genre unclaimed since Dolph got that laser-targeting system for his half-birthday, so I waited until he jumped a few time zones and then snagged the first thing I could find. Perplexing cover art aside, Sweden’s Paralydium have been peddling their brand of finger-flying theatrics since 2015, but with only an EP and 2020 debut Worlds Beyond under their belt, they’re still young in their recorded career. It’s prog week for Iceberg, and I want gratuitous solos, 64th-note unisons, and multi-movement songs injected straight into my cerebellum. Can Universe Calls deliver the goods?

Universe Calls is first and foremost a symphonic prog album, and a pretty traditional one at that. None of that blackened bombast or quirky genre-blending; this is meat-and-taters progressive metal. Think Kamelot, Dream Theater and Symphony X. Although no one person is credited with orchestrations, the synth orchestral hits and swells are the sixth band member, and their interplay with the full band is a central component of Paralydium’s sound. Georg Egg delivers intricate drum parts peppered with syncopated, athletic fills. Jonathan Olsson’s bass is wonderfully highlighted, snappy and clear when it leads, and rumbling when it supports. Alexander Lycke’s admirable performance reminds me of a pre-growls Russell Allen, but the stars of the show here are John Berg (guitars) and Mike Blanc (keyboards). Their dueling solos and lengthy, harmonized unison riffs anchor the rest of the band, cementing Universe Calls as prog metal from beginning to end.

If you liked Symphony X’s run from their self-titled to The Odyssey, you’d be hard-pressed to find a better doppelgänger than Universe Calls. This is a double-edged sword, however, since the line between emulation and plagiarism runs mighty thin. But the positives first. There’s a lot of musical material packed into Universe Calls; the majority of it compelling, and all of it well-performed. Along with the typically propulsive verses and sweeping choruses, the Berg/Blanc duo deploy ambient acoustic passages to great effect (“The Arcane Exploration Part I,” “Interlude”). The band doesn’t bare their teeth very often, but the opening riff of “Caught In a Dream” and the harmonic minor bookends of single “Sands of Time” provide some much-needed headbang-ability. At 50 minutes this album risks running overlong, but the band generally has a good handle on song structure and knows how to use style variance and riff placement to make the songs feel shorter than they are (“Forging the Past,” “Caught In A Dream”).

Paralydium excel at high-flying performances but they’re missing a key part of the songwriting formula: hooks. The absence of memorable, catchy material is the death knell of any composition, prog-leaning ones especially. The band get closest with the chorus in “Sands of Time”—as evidenced by its status as lead single—but after multiple listens, that was the only vocal or instrumental melody that stuck in my head. And then there’s “The Arcane Exploration.” This mammoth, 25-minute opus-split-in-two accounts for roughly half of the album’s runtime, but doesn’t have anywhere near the dynamic or style shifts to justify its length. Usually, prog bands will break tracks like this into movements, each with their own flavor and verse/chorus structure. But Paralydium gamble big on two giant movements, and ultimately fall flat with overextended solo and transition sections and not enough shared DNA to tie the tracks together. It’s a pity because the performances within border on excellent, but the pitfall of prog is indulgence that gives way to sterility, and Universe Calls falls prey to exactly that issue.

Which brings us to the flip side of the Symphony X-worship that is Universe Calls. The surface of the album is ready-to-serve, and it makes for a nostalgic, enjoyable listen for those who yearn for the halcyon days of symphonic prog. But there’s something missing inside, the absence of the vibrant core that made V: The New Mythology Suite and The Odyssey such genre classics. I hope Paralydium continue to find their own style and voice, but I can’t help but feel Universe Calls represents a ceiling for their growth. It’s one thing to emulate a genre-defining band and carry on the legacy they forged, especially when said band has been a decade quiet. But as the late, great Omar Little opined, “when you come at the king, you best not miss.”

Rating: 3.0/5.0
DR: N/A | Format Reviewed: STREAM
Label: Frontiers Music
Website: facebook.com/paralydium
Releases Worldwide: August 23rd, 2024

#2024 #30 #Aug24 #DreamTheater #FrontiersMusic #Kamelot #Paralydium #ProgressiveMetal #ProgressiveRock #Review #Reviews #SwedishMetal #SymphonicMetal #SymphonyX #UniverseCalls

Inner Strength – Daydreaming in Moonlight Review

By Dolphin Whisperer

The face of progressive metal has warped and splintered and mutated since its origins in divergence from heavy metal. From the theatrical and rifftastical charm of Savatage to the pomp and groove of Psychotic Waltz to the emotional and shifting tug of Fates Warning, progressive music holds roots in complex narrative structures that range in tone from whimsical fantasy to deeply and painfully human. In the American arena, technicality flourished through Watchtower—and eventually Dream Theater—virtuosic elements, and intrinsic thrash pedigrees to give rise to a 90s and 00s movement that birthed bands like Zero Hour, Control Denied, and Nevermore, each ranging between these extremities of noodle-noting and tear-jerking. But before them all, Inner Strength stood at the cusp of these advents with their lone 1993 full-length Shallow Reflections making an underground splash,1 which contained all the aforementioned elements laced together with an of-the-time funk metal groove. And now, another thirty years later, that smorgasbord of influences has crested into this newest Daydreaming in Moonlight.

From Scott Oliva’s (The Nightmare Stage, ex-Wind Wraith) vocal rasp and strained harmonies to guitarist Joe Marselle’s slightly down-tuned and dry twang, every bit of Daydreaming sounds unearthed from a 1995 time capsule. With a focus on open-stringed chiming, melodic chord-driven passages (“Daydreaming in Moonlight,” “Dearly Departed”) find a hypnotic legato that recalls aggressive later-era Rush or King’s X works. Whereas bluesy, pull-off riff tension that explodes into snappy and slinky solo work pushes the Rainbow-on-thrash energy that you can hear in the still developing muscular sound of The Damnation Game-era Symphony X. And when it’s not Marselle’s winding fretwork leading the charge, drummer Joe Kirsch in his Zonderful (ex-Fates Warning, Warlord)2 and classy, hi-hat accented approach provides all the rhythmic shuffle necessary to power the progtrain. Forward motion defines Inner Strength’s approach.

But where Daydreaming really finds its secret, aged sauce is in the application of varied sonic hooks in each song. Early album cut “Face Another Hero,” and the later “Truth and Lies,” Inner Strength finds a switch-up to its groove in Voivodian chord stabs that set up a need to resolve with later soaring, melodic capriciousness. And late album romp “War Song” in contrast to its muscle-forward name marches in a constant stumble guided by a sliding nasal bass line that finds a steady thump only during the closing solo and reprise. In Daydreaming’s most modern move, Inner Strength ties up the curtains with the mammoth “The Strength Within – Part II” which pulses a few tones lower—never djent, rather Train of Thought-era Dream Theater—to tie off a journey started so long ago, an aggressive and hammer-headed in contrast to its origins.

To the ears of a prog-head reared in a post-Meshuggah world, though, Daydreaming’s exact studio playbook may not land as quickly as bass-loaded contemporary production does. Choosing to highlight instead the play and intricacy of a ghost note bolstered rhythm section, and a rise and fall guitar aesthetic, its intricacy resides mostly in higher frequencies. Mid-album anchor (and song o’ the year contender) “Dearly Departed” showcases Inner Strength’s mission best with its smoky, extended guitar intro that crashes against Olivia’s time-worn snarl and full riff contraction, only to find a histrionic charm again as choruses expand with chiming guitar resolutions and reaching vocal harmonies. Steeped in technicality without ever being overbearingly so (have fun counting “Compelled” or following the snare and cymbal dance in the closer), this choice to remain in Daydreaming’s chosen sound pocket keeps the listening experience focused while exposing its many layers.

Being the product of thirty years of planning, living, loving, listening, and losing, Daydreaming in Moonlight could be a product of these name-drops here or none of them at all—a missing link in the prog annals that never was. Inner Strength in 2024 is just as much a reimagining of their own sound as they are a refinement and iteration of learned and borrowed tricks.3 With careful devotion to mastering their works for studio bolstering—multi-tracked guitar and vocal pieces that sum to an astounding whole—Daydreaming in Moonlight soars as the opus the band always knew they could create. Any lover of idiosyncratic and fully realized progressive missions, should take notice, as Inner Strength does not have wash away again in the footnotes of emergent sounds.

Rating: 4.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Divebomb Records | Tribunal Records4
Website: facebook.com/innerstrengthny
Releases Worldwide: July 19th, 2024

#2024 #40 #AmericanMetal #ControlDenied #DaydreamingInMoonlight #DivebombRecords #DreamTheater #FatesWarning #InnerStrength #Jul24 #KingsX #LongIsland #Nevermore #ProgPower #ProgressiveMetal #ProgressiveThrashMetal #PsychoticWaltz #Review #Reviews #Rush #Savatage #SunriseDreamer #SymphonyX #TribunalRecords #Voivod #Warlord #Watchtower #ZeroHour